This invention relates generally to devices worn by a person for supporting an object in front of his or her body, and specifically to strap arrangements for supporting a musical instrument such as a guitar or other tool or device.
Many players of amplified electric stringed instruments such as an electric guitar or an electric bass prefer to position the instrument in a vertical or near-vertical position. xe2x80x98Near-vertical positionxe2x80x99 for a right-handed player would position the instrument""s tuning head above a musician""s left shoulder and to the left of the musician""s head.
The near-vertical position facilitates certain types of play. In particular, the near-vertical position permits the left hand to press strings to frets with minimal bending of the left wrist, which alleviates the weakness, fatigue, and potential medical problem of playing with a sharply-bent wrist.
Further, there is a method of playing stringed instruments called xe2x80x98two-handed tappingxe2x80x99 or xe2x80x98touch-stylexe2x80x99 in which the player taps the fingers of both bands upon strings simultaneously, permitting piano-like music such as simultaneous melody and chords, melody and counter-melody, bassline and chords, etc. In touch-style play, both hands must be free to move lightly above the fretboard, thus requiring the instrument to be supported in such a way that no assistance from the hands is required for positioning.
In touch-style play, the near-vertical position affords the player an advantageous positioning of both hands, permitting easy access to all fretboard notes without undue hand strain; and any volume or tone controls mounted on the front face of the instrument""s body are easily accessible with either hand.
Although the near-vertical positioning of an instrument affords these benefits, it is difficult for a musician to maintain a stable near-vertical position with most existing support systems such as straps, belts, and belt-hooks.
In addition, many modern electric guitars and especially electric basses are quite heavy, so that supporting an instrument during extended periods of play is fatiguing to a musician, which in turn impairs the musician""s ability to play well. Consequently, a support system for a musical instrument should optimally distribute the instrument""s weight comfortably upon the musician""s body.
In addition, a musician may prefer to play either while sitting or standing (possibly with performance gyrations), and the musician may be required to alternately stand and sit in a single performance. However, many existing support systems function poorly in one or the other of the two playing positions.
Similar considerations may on occasion apply to other musical instruments, such as a saxophone or synthesizer controller or an electronic drum device such as those marketed under the trademarks xe2x80x9cZENDRUMxe2x80x9d or xe2x80x9cSYNTHAXExe2x80x9d; or to any type of tool supported in front of a user""s body, especially when usage of such tool would be facilitated by a stable, near-vertical position, or when such tool requires two-handed operation by the user.
The apparently-contradictory demands for stability and freedom of expression, for simplicity and significant weight distribution, and for seated-position and standing-position play have led to the development of many musical-instrument support systems, such as straps and belts and belt-hooks. However, in this crowded field, the solutions previously developed fail to address all the issues, or in some cases create other performance difficulties such as requiring substantial time to don or remove, or such as interfering with the performer""s costume.
The most popular support for electric guitar or bass has been the common xe2x80x98guitar strap,xe2x80x99 which is attached to the lower end (xe2x80x9cthe basexe2x80x9d) of a guitar, from which point it passes behind the musician""s back and forward over his or her left shoulder, and is attached to either the tuner head of the instrument, or more commonly to the instrument""s body near the neck, as illustrated in FIG. 1.
This type of support is simple, inexpensive to manufacture, familiar to musicians, quick to don or to remove, produces no discomfort to a female musician""s breasts, and does not interfere with a musician""s costume. Perhaps for these reasons, the common guitar strap has been the mainstay of guitar support systems for hundreds of years.
The selection of attachment points upon which the guitar strap is affixed to the body of the guitar as illustrated in FIG. 1 tends to make the guitar rest in a stable fashion in a near-horizontal position that is convenient for traditional methods of play. As shown, the musician presses the instrument""s strings to the instrument""s neck using his or her left hand while using his or her right hand to pluck the strings.
However, for alternative methods of play that are facilitated by positioning the instrument in a near-vertical position, the common guitar strap does not fare so well. The common guitar strap will not hold an instrument in a stable near-vertical position, because as soon as the left hand is removed from the neck, the weight of the tuner head causes it to sink to a lower level where it finds equilibrium. This problem is exacerbated when playing high-pitched notes near the instrument""s body, because the left hand can offer minimal support, or when playing touch-style or two-handed tapping, again because the hands can offer minimal support.
There also exist a number of xe2x80x98shoulder-padxe2x80x99 designs that provide a wide pad of comfortable material through which the common guitar-strap is threaded such that the shoulder-pad rides upon the musician""s shoulder and below the strap. This arrangement spreads the pressure of the guitar strap over a larger area of the musician""s shoulder, increasing comfort somewhat. Although the shoulder-pad often affords adequate weight distribution, it may not be enough distribution to make the heaviest instruments comfortable. Also, shoulder-pads are frequently known to slide forward or backward off the musician""s shoulder during a performance, and once so ill-positioned, they afford no benefit.
In U.S. Pat. No. 5,483,860 to Adams (1996), an additional strap segment is connected to the rear of a basic guitar strap, from which point it passes around the musician""s left side to connect to the instrument. This triangulated attachment stabilizes the instrument, preventing side-to-side movement, but if the tuning head is raised high it will not remain there, and the full weight of the instrument is still borne on one of the musician""s shoulders, which is uncomfortable for any length of time.
In U.S. Pat. No. 4,254,901 to McIntosh (1981), an additional strap segment is connected to the rear of the basic guitar strap, from which point it passes over the musician""s other shoulder to attach to the instrument. This distributes the weight equally on both shoulders and is much more comfortable. However, if the tuning head is raised high to a near-vertical position, gravity and the tension of the strap itself will prevent its remaining in the near-vertical position.
In U.S. Pat. No. 4,279,367 to Jacobs (1981), an extension or additional strap is used in combination with a basic guitar strap. This second strap is attached to the instrument""s body near the neck and then passes across the musician""s chest and wraps around his left side and around his body to attach at the base of the instrument. While this greatly stabilizes the instrument and tends to prevent the tuning head from dipping lower, the tension of the lower strap will prevent the instrument from being supported in a stable near-vertical position. Further, although the strap offers some weight redistribution to the musician""s torso, most of the instrument""s weight still rests on one of the musician""s shoulders, which can be uncomfortable. Further, this device may require substantial time to don or remove, and if the musician is female, it may be uncomfortable to the breasts.
In U.S. Pat. No. 4,930,695 to Thompson and Peters (1990), a strap assembly in the shape of a figure-eight is put on much like a jacket, so that a strap goes over each shoulder and a strap goes around each side of a musician""s body to attach to an instrument. This provides good weight distribution, and the instrument is positioned in stable fashion in front of a musician""s body. However, if the tuning head is positioned in near-vertical position, the dual tensions of the strap assembly will quickly lower the head again.
In U.S. Pat. No. 4,802,613 to Tierney (1989) and in U.S. Pat. No. 5,215,239 to Walters (1993), harness variations attach to an instrument at a single point. Although this is appropriate for an instrument which balances nicely such as a saxophone, it does not work for an electric guitar or especially electric bass, both because the tuner head has top-heavy weight which tends to fall to one side or the other, and because on the body of the instrument it is difficult to find a single balance point which does not permit the instrument to flop around unpredictably.
In U.S. Pat. No. 5,332,137 to Violette (1994), a belt is worn around a musician""s waist, and from the rear center of this belt a strap segment passes over the musician""s shoulder to attach to the instrument. Two short straps depend from the belt; and these are affixed to the rear surface of the instrument""s body. This triangulated support will hold the instrument without swaying. Although this arrangement could be modified to provide near-vertical positioning, there would then be nothing to prevent the top-heavy tuning head from falling to the musician""s right, carrying the support strap off the musician""s shoulder. Further, although this arrangement provides some weight redistribution to the musician""s hips, the device is more expensive to manufacture, may interfere with the performer""s costume, is time-consuming to don or remove, and will not permit seated play.
Mark Warr of Warr Guitars (Long Beach, Calif.) developed a strap (circa 1994) that affixes to the guitar""s body using two attachment points in such a way that the guitar can be temporarily supported in a near-vertical position. However the orientation of the instrument is not stabilized, which permits the tuner head of the instrument to fall forward, away from the musician""s body, or to move back toward the musician""s head, and even in some cases to strike the musician on the head if the musician is less than alert. Therefore, some control must be provided by the musician""s hands. Further, given any downward pressure applied to the neck by the musician""s playing hands or by performance gyrations, the neck can easily reposition itself in normal horizontal position.
In U.S. Pat. No. 3,371,570 to Lester (1968), a flat hook (xe2x80x9cbelt-hookxe2x80x9d) is attached to the rear of an instrument""s body, permitting the musician to quickly place the hook over the top of the musician""s pants so that the musician""s trousers belt will support the weight of the instrument. This easily provides near-vertical positioning, although a heavy instrument could weigh uncomfortably on the musician""s belt, or in the case of unbelted trousers with an elastic waistband, the instrument could unpredictably disrobe the musician. In addition, the instrument has no vertical stability. If the musician""s hands are removed from the instrument, it will fall. Further, because the base of the instrument is pressed by the hook very close to the musician""s lower torso, the instrument interferes with the seat of a chair if the musician attempts to sit down to play. Notwithstanding differences in construction, the same virtue and objections apply to U.S. Pat. No. 5,000,071 to Thomas (1991).
In U.S. Pat. No. 3,833,751 to Chapman (1973), a type of electric guitar is shown which uses a belt-hook similar to that of Lester as the primary weight-bearing support. A small, non-weight-bearing strap that passes around the musician""s torso and attaches near the instrument""s tuner head provides vertical stability. This is a stable support system that provides near-vertical positioning, but again the weight borne on the musician""s trousers belt can be uncomfortable or can pull the trousers down. In addition, the instrument must be donned or removed in two stepsxe2x80x94first the belt-hook is positioned, and then the strap is put on and positioned. Further, this upper strap can interfere with the performer""s costume, and also may not be comfortable to female musicians. Finally, the belt-hook assembly positions the base of the instrument in such a way that it can interfere with most types of seating if the musician is attempting to play while seated.
In U.S. Pat. No. 5,069,103 to Healy (1991), a belt-hook assembly is attached to the rear surface of the body of an instrument, and the musician wears a belt assembly to which is fastened a depending strap segment which attaches to the base of the instrument""s body. Although the instrument can be quickly donned or removed, the assembly does not permit near-vertical positioning, the belt assembly can weigh uncomfortably on the musician""s body, and the device will not support an instrument during seated play.
Musician Bob Culbertson of San Jose, Calif. developed (circa 1992) a simple apparatus for musical instrument support, which he has used during public musical performances for many years in the San Jose area and during student teaching sessions at Guitar Showcase music store of San Jose. The apparatus comprises a bar attached across the rear lower surface of a guitar-like instrument, in such a way that this bar in a horizontal orientation protrudes to either side of the instrument. To play while seated, the protruding ends of this crossbar rest upon the player""s thighs, thus supporting the entire weight of the instrument. As long as the player also uses his or her hands upon the upper fretboard of the instrument it will remain positioned in an upright and stable orientation, but of course the apparatus is of no assistance during standing play.
There are in addition a number of specialized instrument support systems for seated play, including U.S. Pat. No. 5,616,874 to Kraus and Kraus (1997) and others. However, none of these provide near-vertical positioning, nor stability when the bands are removed from the instrument, nor support during standing performance.
Accordingly, one object of this invention is to provide an improved support for guitar or other implement. Additional objects are to provide a strap assembly which is cheap to manufacture, familiar to musicians, quick to don or remove, and does not interfere with a performer""s costume.
The present invention affords near-vertical positioning of an instrument, and is stable in all planes without any requirement that a musician use his hands to assist the support or stabilization of the instrument. It provides weight distribution by means of a shoulder pad that is dynamically self-positioned and will not slide off the musician""s shoulder. An optional second strap over the other shoulder can afford further weight distribution if desired, as can adding an optional belt support device or belt-hook support device.
The present invention provides these benefits either during standing or seated play, with no adjustment required when changing from standing to seated or vice versa.
Additional objects and advantages will become apparent from a consideration of the drawings and the ensuing description.